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Lou,

I'm mostly a lurker on this list, but I have to agree: "White Bird" on LP was/is outstanding! Bought in Ft. Worth and still in my collection.

Best Regards,

David Crosthwait
DC Video
Archived Media Transfer and Re-mastering Services

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Burbank, CA. 91502
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On Dec 15, 2011, at 1:03 PM, Lou Houck wrote:

> To my ears, the best sounding LP I ever acquired was the "White Bird" album by It's a Beautiful Day.
> I don't know if it was an excellent job of recording or mastering, or if I got Number One off the
> stamper, but it was breathtaking.  I bought an early import CD of that album and it paled by comparison.
> Just my dos centavos.
> 
> Lou Houck
> Rollin' Recording
> Boerne, TX
> 
> 
> 
> ----- Original Message ----- From: Tom Fine
> To: [log in to unmask]
> Sent: Thursday, December 15, 2011 2:18 PM
> Subject: Re: [ARSCLIST] Straight Line Tracking was Stanton Turntable reviews....anyone?
> 
> 
> This is an exaggeration. There were plenty of good pop and rock records cut over the years, with
> nice-sounding top end. It's possible to do and was possible to do from the earliest days of
> close-mic recording. Also, as some subsequent CD reissues have clearly demonstrated, some of the
> distortion heard on some recordings came from either overloaded microphones (sticking a
> high-sensitivity European condenser mic real close to a loud sound source is not a good idea) or
> overloaded electronics (typical American mic preamps of the "golden era" were not designed for
> high-output condenser mics placed close to loud sources, they were designed for lower-output ribbon
> mics) or poor mixing decisions leading to saturated tape. One example on how to do all of this right
> are the best sounding Contemporary Records albums done by Roy DuNann. He used a passive mixer,
> knowing the level coming in from his AKG and Neumann mics was too much for mic preamp modules at the
> time. He then used a line amp on each output buss. By the mid-60's, it was well understood how to
> record loud treble-laden sources to end up with a successful LP cut. Plus there were numerous
> electronics made specifically to deal with this issue in the LP cutting chain, such things as
> Fairchild's HF-only limiters, Pultec equalizers, etc.
> 
> -- Tom Fine
> 
> ----- Original Message ----- From: "Andrew Hamilton" <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, December 15, 2011 2:28 PM
> Subject: Re: [ARSCLIST] Straight Line Tracking was Stanton Turntable reviews....anyone?
> 
> 
> The popular floor model lathes (Neumann and Scully) all have straight
> pivoting pickup arms for checking the test grooves while being cut in spite
> of having tangentially-advancing carriages for the cutter head.
> 
> There are so many tt's out there which pivot, even though it's a compromise,
> that it might be best just to let disc playback be inherently flawed,
> however enjoyable.
> 
> The fidelity decreases as a disc is played back on either straight,
> S-shaped, or tangential pickup arms - even optically scanned grooves, since
> the cutting was done with a constant angular velocity, resulting in
> self-erasure.
> 
> The surface noises of galvanizing and pressing are quite pronounced and only
> tolerable because of not being correlated to the audio.
> 
> As Al Grundy explains, the RIAA eq curve and Pop music don't shake hands
> well - even if the curve is perfectly de-emphasized, since the practice of
> close-miking and loud treble is incongruous with the motivation to boost the
> high end (75 µs) by so much, merely to diminish surface noise.  It
> necessitates compatibility processing such as low corner frequencies on Low
> Pass filters, acceleration limiting, and peak limiting.
> 
> If you want good sound, attend a symphony performance in a suitable hall.
> (*\*   On the other hand, Caruso thought the gramophone was excellent.
> 
> 
> Cheers,
>    Andrew
> 
> 
> 
> 
> 
> 
> On 12/15/11 1:24 PM, "Michael Biel" <[log in to unmask]> wrote:
> 
>> As Ted Kendall finally was able to explain, the tone arm Stanton offered
>> as an option was not a "straight LINE" tracking device, it was a PIVOTED
>> straight arm without an S-bend.  Haven't any of you seen a modern DJ
>> turntable with a straight unbent arm? This is what one looks like:
>> 
>> http://www.aboutdj.nl/images/stories/gear_nieuws/stanton_t120.jpg
>> 
>> Read ALL of what I wrote in my original posting without the clipping:
>> 
>> From: "[log in to unmask]" <[log in to unmask]>
>>>> Why would the straight arm be skip proof? joe salerno
>> 
>>> It helps in the back-cueing that DJs do. The force is pushing
>> straight
>>> back on the arm, and is less likely to jump grooves during back
>> cueing
>>> than an S-shaped arm. Unless you back-cue, you are better off with
>> the
>>> S-shaped arm.
>> 
>> It is a "straight" arm, not a "straight line" device.
>> 
>> Mike Biel  [log in to unmask]
>> 
>> 
>> -------- Original Message --------
>> Subject: Re: [ARSCLIST] Straight Line Tracking was Stanton Turntable
>> reviews....anyone?
>> From: Ted Kendall <[log in to unmask]>
>> Date: Thu, December 15, 2011 12:09 pm
>> To: [log in to unmask]
>> 
>> On 15/12/2011 16:23, Aaron Levinson wrote:
>>> Goran-
>>> 
>>> Based on this reasoning isn't that why the linear tracking tonearm was
>>> arguably the truest playback system of all?
>>> 
>>> AA
>>> 
>>> 
>>> 
>>> 
>>> On 12/15/11 9:10 AM, Goran Finnberg wrote:
>>>> Mike Biel:
>>>> 
>>>>> Unless you back-cue, you are better off with the
>>>>> S-shaped arm.
>>>> 
>>>> The straight arm gives less wow and flutter.
>>>> 
>>>> Also it gives less distortion as the S-shaped arm cannot be adjusted
>>>> to have
>>>> more than two points of distortion minima and all other places are the
>>>> tracking distortion much higher.
>>>> 
>>>> Furthermore a bent arm creates the need for anti skate adjustment.
>>>> Without
>>>> it the right channel will distort much earlier than the left channel.
>>>> 
>>>> Also the cartridge stereo channel separation will become nonsymmetrical
>>>> without anti-skate adjustment.
>>>> 
>>>> So on...so on.
>>>> 
>>>> Straight line is always better in all respects as it mimics the way
>>>> the disk
>>>> was cut.
>>>> 
>>>> 
>>> 
>> Of course a linear track arm is the nearest approach to the path of the
>> cutter, but this is not present in the Stanton turntables under
>> discussion. The point at issue is the difference between a straight
>> pivoted tonearm without offset, which is a geometrical abomination only
>> of use to scratchers, and a pivoted arm with the necessary offset for
>> minimum tracking error, obtained in the Stanton case by use of an S
>> shaped arm.
>> 
>> 
> 
> -- 
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